Ryoji Ikeda’s Datamatics 2.0 (2013) is an overwhelming abstract and conceptual representation of matter, time and space through the correlation of sound and visuals in this dynamic audio visual work.

Conceived through pure data and coding to present a minimalist representation of computer generated imagery and sounds running in the background of your computer and motherboard. Ikeda explores time and space presenting what seems to be a transcript and timeline of a user’s metadata to mirror the user’s behaviour, tracking the intensity of each action.

Datamatics 2.0 enjoys a great physicality with sound and visuals working together as one continuous action to relay the idea the piece is happening live. Sounds and visuals work as one being, rather than reactive senses allowing you to cognitive feel the movement, breaks, pulses and texture of data and information.

I first saw his work at Carriageworks, as part of the Sydney Vivid Festival in collaboration with the International Symposium of Electronic Arts. It was obvious other patrons were more informed about his work hearing people coo during the piece. Before the show, I met a girl who traveled up from Melbourne to view the show only to find a ticket was required. Funny enough the tickets were printed on square pieces of paper that it was easy for her to cut a loose bit of paper and Mugyver it in.

Test Pattern [Number 5] ran concurrently featuring a large 30m space where you could sit and move amongst computer generated images and data super-imposed over you, like it was a reflection of your own behaviour.